Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
29 May 2014
Dmitri Hvorostovsky in Los Angeles
Siberian born baritone, Dmitri Hvorostovsky returned to Dorothy Chandler Hall on May 22nd with a unique all Russian song recital which included songs composed to Pushkin’s poetry and Dmitri Shostakovich’s Suite on Verses of Michelangelo Buonarroti.
Hvorostovsky along with pianist Ivari Ilja, had been touring the United States with this and an alternate all Russian program. Though reviewers agreed that their programs were unvaryingly gloomy, the glamorous and sonorous Hvorostovksy received glowing reviews and attracted large audiences - particularly Russian speakers - wherever he appeared. Likely, he is the only classical vocalist who could have succeeded with such a dark, single language program. Hardly anything new can be added to the myriad descriptions of the dark velvety texture of Hvorostovky’s voice, or to the repeated raves about his breath control and legato singing. Yet perhaps he was a bit worried about introducing all that gloom to Southern California. As though his natural good looks, silver hair and easy smile might not be enough to carry Angelinos through two hours of minor keyed laments on lost loves, anger and death, the baritone appeared in an outfit on the Liberace side of stage wear: a form fitting tuxedo with long glitter-paved lapels. A flashing pendant and ring added to his sparkle.
He didn’t need it. His presence and voice were enough. Where a powerful baritone voice, such as Hvorostovsky possesses can be fully released in opera houses in roles such as Iago, in Otello or di Luna in Il Trovatore, song recitals are more intimate affairs. They require more varied gradations of sound and subtler techniques to communicate the meaning of every word, every musical phrase. Few opera singers have this gift. Hvorostovsky is able to move his audience’s emotions with the slightest gradations of sound, the most minimal motion of head, or hand. However, for this performance, most unusually for a recitalist, (and distractingly, for his audience), he kept an enlarged score on a music stand, to which he referred throughout the program.
The composers the Pushkin songs ranged from Glinka, a Pushkin’s contemporary to Sviridov, who was born in 1915 and lived until 1998. I have no idea of the quality of any of the Pushkin poems in Russian. One has to assume they were meaningful enough to inspire composers. However, many of the unattributed translations in the program were surprisingly lackluster and unpoetic and Hvorostovky’s interpretations for whatever reason, echoed this impression. The music of the earliest of these composition, particularly, seemed almost a warm up for the baritone. The more harmonically elaborate later songs by Nicolai Medtner and Sviridov were more compelling both for the singer and his audience. The Medtner songs too, offered the first of many opportunities for Ivari Ilja to display his virtuosity.
Shostakovitch came upon Michelangelo’s sonnets in 1974, shortly after they appeared in a Russian translation by Avram Efros. Many of these poems, written in the Italian artist’s late years, reflected the composer’s own regrets, angers and the despair he was suffering during the last years of his own troubled life. Shostakovich chose eleven sonnets, which he titled “Truth” “Morning”; “Love” “Separation” “Anger,” “Dante,” “To an Exile,” “Creativity,” “Night,” “Death” and “Immortality.” He scored them starkly for piano and bass voice, and once described the suite as consisting of “lyricism, and tragedy, and drama, and two ecstatic panegyrics in honor of Dante.” Although Shostakovich is said to have told composer Aram Katchaturian that he did not intend to orchestrate the work, he did so just before his death in August 1975, and never heard the orchestral version. Dark and depressing, even angry as these songs are, they grip the soul. The Chandler Hall audience was not asked to withhold its applause at any time during the program and rewarded each and every one of Hvorostovky’s Pushkin songs enthusiastically While the lyricism, intensity and devotion to text that Hvorostovsky brought to the Shostakovich-Michelangelo suite could not restrain the baritone’s devoted fans from responding to each song, the applause was pallid, brief and restrained as though they were torn between wanting to express their joys at hearing an adored artist, and awareness of the somber message he was delivering.
Hvorostovsky rewarded his adoring public with three encores, an impassioned Iago’s Credo, the lyrical Valente-TagliagerriPassione, and an a capella rendering of Goodbye Happiness, a Russian folk song. Each displayed a different aspect of Hvorostovsky’s artistry and stirred his audience to wild cheers, but did nothing to elevate the evening’s downbeat philosophical message.